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Click Here To Purchase From Amazon The Grandmaster
Author: Peter A. BalaskasPublisher: Bards and SagesISBN: 9780615147437
Author: Peter A. Balaskas
Publisher: Bards and Sages
Today, Norm Goldman, Publisher & Editor of Bookpleasures.com is pleased to have as our guest, Peter A. Balaskas, author of The Grandmaster.
Good day Peter and thanks for participating in our interview.
What makes you want to write? Was there anyone who really influenced you to become a writer?
I have always been interested in storytelling since I was a little boy. I used to draw pictures on my notepad, which contained fantastic stories involving monsters, spaceships and battles of all kinds. I also learned how to read at a very young age. But it was a fascination for film that stimulated my love for storytelling, especially the Ray Harryhausen movies such as King Kong, The Sinbad Series, and Jason and the Argonauts. And I would usually re-create those scenes with my crayon drawings.
It wasnt until high school that another Ray heightened my desire for storytelling: Ray Bradbury. His two books, The October Country and The Martian Chronicles planted a seed within my soul to tell the stories that I wanted to share, especially when it came to taking normal characters and placing them into extraordinary circumstances.
Bradbury led to Harlan Ellison, Edgar Allen Poe, Robert Heinlein, Stephen King, Isaac Asimov and other well-known authors that dealt with the Fantastic. I was mainly a reader until my Junior Year in college where I started taking creative writing classes. And the moment I wrote my very first short story---which, ironically enough, was a Wagner Institute story---my need to create stories came into fruition. After many years of writing workshops and simply experiencing life itself, I think Im in my creative groove. But I have a lot to learn when it comes to honing my craft.
Was The Grandmaster improvisational or did you have a set plan before you sat down to write it? What inspired you to write The Grandmaster and how did you come up with the ideas for it such as the paranormal and the golem?
It all started when I began studying for my Masters in English (double emphasis in creative Writing and Literature) from Loyola Marymount University in Los Angeles (Fall of 1999). The first class I took was Literature of the Holocaust, and we read the works of Primo Levi, Elie Weisel, and other writers who were survivors of the Holocaust. I have always been interested in World War Two, but the Holocaust fascinated me in terms of its historical and sociological impact on the human race. One of our assignments was a creative project and we were supposed to utilize what we learned from the semester into our project. Originally, I was going to write a supernatural short story that takes place in a concentration camp.
Now, before I entered the program, I had written and outlined a few pieces that dealt with the Wagner Institute. I even have a character bible for this series of stories. Some of them have been published already: A Bottle of Jyn (which is considered a preface to The Grandmaster) is being sold as an e-book through Bards and Sages, Lessons in Aviation is published on-line through Sage of Consciousness, and The Chameleons Addiction is published on-line through Bards and Sages. In all of these stories, I mention Doctor Johann Wagner, but his character was the only one that I didnt have a history for.
Which brings me to The Grandmaster. I suddenly realized that this project was the perfect opportunity to create the spiritual foundation of the Wagner Institute: Dr. Johann Wagner. I researched all the background history regarding the Holocaust: camp life, locations, and key dates. I also researched documentation regarding the supernatural and paranormal, and I wanted to incorporate my fascination with this subject matter within the context of The Grandmaster, especially the Jewish legend of the golem. I created the list of characters and outlined the entire book---most of my works are outlined. Many writers frown on this, but it helps me with my stories. After the outline was created, I let the creative process begin. It has its own schedule; I cant force the muse, so to speak.
In fiction as well as in non-fiction, writers very often take liberties with their material to tell a good story or make a point. But how much is too much?
I feel if the author does his homework on where the story takes place, as well as show a little creative restraint regarding how the characters interact (especially if your characters are based on historical figures), then your story can shine on its own merit without appearing self-indulgent or amateurish. The best examples I can give for this are Caleb Carrs The Alienist and James Lee Burkes Two for Texas.
In both novels, Carr and Burke captured periods of history with such incredible detail that it was as though they were taking literary snapshots of the times. But what made the stories believable were not only the descriptive settings, but also the characters. They were consistent to those particular time periods, no sense of anachronism at all. And what made the magic of the stories come to life even more was they incorporated historical figures as supporting characters. Carr featured a young Teddy Roosevelt; Burke had Sam Houston. And those character interpretations were believable, especially when they interact with the fictional protagonists of the works. When the reader starts to believe in the characters and the dramatic situations, then the author has done his job in creating a believable story. I tried to do the exact same thing with The Grandmaster in terms of the setting, the characters, the dialogue, and how the story comes together.
You write with a very vivid and descriptive style. Do you use any particular techniques to help with your writing or to help flesh out descriptive imagery? Are there any writers you admire or look to for inspiration?
Thank you very much. Whenever Im doing first person narration, like what I did with The Grandmaster, my character would describe in a way that was consistent with his or her background and time period. For instance, Johann Wagners descriptions should have a vivid, yet poetic flavor about it. He is educated, cultured, and even has a romantic nature about him. A character who is born on the Brooklyn streets wouldnt utilize that kind of elaborate description, although he could still have certain sense of style in terms of how he speaks and, especially, how he describes a scene.
Detective and crime stories are good examples of that. I basically, for lack of a better term, hear the voices inside my head and place them on paper. But again, researching the background of the character helps with how he dresses, how he acts, and most appropriately, how he speaks, especially if he is narrating the story. Many authors in my genre have been huge inspirations when it comes to my writing style (Bradbury, Ellison, King), but other authors outside my genre have been helpful as well, such as John Steinbeck, Louise Erdrich, and John Irving. When it comes to my writing, these are my teachers.
Does The Grandmaster have a broader mission than simply entertaining or storytelling? If so, can you talk more about that mission and what you hope readers will take away after reading the book?
I only have three goals when it comes to any story that I write: to make it believable, enjoyable and somehow have it impact in a way that I would never predict.
With The Grandmaster, my initial goal was to show a typical battle between good and evil. It wasnt until after I completed the piece that the main theme stems from the very first line in the book: The eyes of the demon have returned! Its a story about conquering ones demons, both in a figurative and literal sense. The reader has the opportunity to see how Wagner confronts both forms of demons during two moments in his life.
As a younger man, he not only faces the literal demon in the form of Karl Reinhardt, but also a figurative demon called doubt: doubt in his faith, his people, his own purpose. Although he seems to conquer both demons during that time, Wagner---as an older man---then discovers through his journal writing that both forms of his demon appear again. But in this case, it comes from his memories of the Holocaust. And its through this portrayal that I hope will inspire anyone to learn from the pains of the past, not allow them to taint the purity that every human being has, and spiritually evolve as time goes on. But again, this message was not planned. It very much manifested and grew on its own.
How did you go about creating Dr. Wagner and Colonel Reinhardt?
Stemming from what I described about the demons of the past, Wagner and Reinhardt are the archetypes of survivors in the truest sense. Both experienced loss, alienation, and cruelty. Both also possess supernatural powers. And because of their respective cultural backgrounds, both are outsiders. However, the difference between the two is one chose the path of perseverance and compassion, whereas the other allowed his anger and pride (two of the deadliest sins) to consume him. And its through these conflicts that the voices of Wagner and Reinhardt came out as two distinctive types of survivors. One is filled with a spiritual tenacity, the other is filled with self-loathing.
In the last year or so have you seen any changes in the way publishers publish and/or distribute books? Are there any emerging trends developing?
Speaking as a publisher myself (www.exmachinapress.com), I have noticed an increase in small publishing presses trying to market their work first on a local level, then work their way up regionally when word about them travels around. This is what we are trying to do with my publishing company, Ex Machina Press. We focus on marketing our titles through the LA Community with the help of major festivals (most notably The LA Times Festival of Books), as well as utilizing simple word of mouth and networking with other small publishing houses. It usually takes any small self-owned business 4-7 years to break even. If the founders of these publishing presses can hang in there, to harness their passion but still maintain the clarity of what they are doing and how they are doing it, they can make their businesses thrive.
I have also heard about how the e-book will replace print within the next 10-20 years. I find that extremely hard to believe because I feel the number of people who love the tactile sensation of holding a book is too high. Fifty to sixty years ago, it was thought television would replace radio. Although the technology has changed over the years, radio is still going on strong. I feel that there will be an equal demand for both print and e-books.
What's your advice to achieve success as a writer?
In my opinion, the only kind of success a writer should seek is totally creative. You dont go into this field for the money; thats extremely unrealistic. Obviously, my goal is to eventually live on my fiction writing. But realizing the odds of this happening, I have a full time job to maintain a decent standard of living. My only focus is to grow as a writer, to be true to my characters and the stories that stem from their actions. To have fun in the process, and to be patient when the work doesnt appear quite right.
And when it does come out the way I envisioned it, its essential to remain humble and grateful for my talent. I consider it to be a gift. James Lee Burke once said that true artists believe their talent comes from a source outside from themselves, a higher power, for lack of a better term. To expand on this, my talent comes from a higher source and is harnessed through my imagination, my creative lens, so to speak. And if I can keep that lens clean of any smudges such as arrogance, pride, envy, etc, than it is reflected in my work, which will hopefully evolve as time goes on. And with that creative evolution come spiritual evolution and that is how success is truly attained.
On reading your bio, I noticed you have contributed essays and poetry to several literary journals. How beneficial is it for a writer to contribute to these journals?
I feel its extremely beneficial to submit your work to as many journals and magazines as possible. Even if they are non-paying publications, you are getting your name out there. You are expanding your horizons in terms of professional and creative contacts. Obviously, try the paying publications first. But if your work gets rejected, dont snub your nose at the idea of a two complimentary copy only deal. Some writers have a problem with this; I dont. The mission of the writer is to create their work and get it noticed out there for as many eyes to see.
How did you feel when you learned that The Grandmaster won 3rd place in the 2006 Bards and Sages Speculative Fiction writing contest? What is the Bards and Sages Speculative Fiction writing contest?
I first learned about Bards and Sages Publishing when I found a submission call for short fiction---it was for an anthology they were putting together. I discovered that they publish Speculative Fiction (Science Fiction, Horror, Suspense, etc), which caught my attention because that is what I generally write. I submitted my gothic horror novella, The Chameleons Addiction. Julie Dawson, the editor, immediately replied and said that although my piece was too long for the anthology, she did consider it a publishable piece. Therefore, they offered to publish it on-line on their website.
After that, I checked in on their website from time to time and I noticed that they were holding a Speculative Fiction Novella Writing Contest and the top three places get published in an anthology. I immediately thought of The Grandmaster. I entered my short novel to two other contests, but no luck. I thought I had nothing to lose with Bards and Sages. I submitted my work, thinking that the results would be the same. During Thanksgiving Week of last year (2006), I got an e-mail from Julie informing me that The Grandmaster won third place. I not only received a gift bond, I was told that my story would be published as its own title, and that it would be published as an e-book, printed book and possibly an audio book (in 2008). I was ecstatic because The Grandmaster was key in my evolution as a writer. And the fact that I got the acceptance letter on the seventh anniversary in which I wrote the first draft (November 1999) added to the moment even more so. It felt like providence, in a way.
How important is it for aspiring writers to go to conferences? How do you know that a conference is worth your time and money?
I am ashamed to say that I havent attended any conferences. However, I have attended the Maui Writers Retreat two years ago and I found it to be one of the most important experiences in my development as a writer. I took the Speculative Fiction Course, and the exercises not only helped me with my writers block, it helped build up my confidence in my writing. My first collection of short stories was the result of that Retreat. Although it was expensive, it was worth every penny.
I can share with you what I heard about Writers Conferences: find those that fit your needs the best. From what other writers told me, it is best to attend conferences that not only help you in your craft, but also networking with other writers who are in the same field or genre that you are presently in. It is always essential that people do their homework about a particular conference before making any financial commitment whatsoever.
How can readers find out more about you and your endeavors?
My writers website is presently under construction, but its still accessible: www.peterabalaskas.com. It should be fully operational by mid to late September. However, if people want to know more about any current events, as well as the links to some of my works that have been published on-line, go to my business website (Im the Editor and Manager of an LA based publishing company called Ex Machina Press, LLC, which is the parent company of the annual fiction anthology Silent Voices: a creative mosaic of fiction. www.exmachinapress.com). Look under Staff Publications and youll have a chance to see more of my work. I also have a MySpace page: www.myspace.com/zardozrising
Is there anything else you wish to add that we have not covered and what is next for Peter Balaskas?
From an editors standpoint, Ive been busy reading submissions for our next volume of Silent Voices: a creative mosaic of fiction; the featured authors for that book are Liam Callanan, Alex Espinoza, and Emily Rapp. From a writers standpoint, Im seeking an agent for my first short story collection, the one whose work stemmed from the Maui Writers Retreat. Its called In Our House and theyre a mixture of horror, suspense, theological and historical short fiction. Its a nice grab-bag that I hope will appeal to many types of readers. In the meantime, I have also begun my second short story collection. The previous book was mainly grounded on the supernatural; the second one is composed of science fiction.
Thanks once again and good luck with all of your future endeavors.
Thank you, Norm, for all your support and your thoughtful review of my work. It does a writers heart good.
Click Here To Purchase From Amazon The Grandmaster
To read Norm's Review of The Grandmaster CLICK HERE


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Engineering Office
580 Pacific Street, Room 7
(831) 646-3921
Fax: (831) 646-3405
Hours: 8 a.m. to 5 p.m.,
Mon. - Fri.
Closed: noon to 1:00 p.m.
Tom Reeves
City Engineer
Jeff Krebs
Senior Engineer
Norman Green
Associate Engineering Surveyor
Tricia Wotan
Environmental Reg. Manager
Kevin Anderson
Environmental Reg. Analyst
Carolyn Mautner
Engineering Technician
Kim Allen
Administrative Assistant II
Planning and Review Services
We plan for the community's future infrastructure needs (streets, sewers, storm drains, etc.). We review site plans to ensure that they meet standards and coordinate the development of public improvements required to support new development. We develop City-wide design standards for public works improvements; review all lot line adjustments, lot mergers, and any other types of property subdivision; assist with the formation of special assessment districts for under grounding utilities or other similar public improvements; and design street, sidewalk, storm drain, sewer and building improvements.
Capital Improvement Program Development
We prepare plans, specifications and cost estimates for street, sidewalk, storm drain, sewer and building improvements.
Neighborhood Improvement Program
The Engineering office manages the Neighborhood Improvement Program (NIP) which includes the NIP Committee's selection of projects each year for recommendation to City Council for approval of the annual budget.
Property Information
We maintain Assessor's parcel information, flood zone and geohazard information, soils reports (historic and current), tree location/ownership information, corner monument information, infrastructure information (location/depth of storm drains, location of sewer lines, location/ownership of street lights, etc.), storm drain & sewer lines mains and aerial/topographic maps of public lands.
Sanitary Sewer Management
The Engineering office oversees the City's sewer system operating permit including the Sanitary Sewer Management Plan (SSMP). There are approximately 104 miles of sanitary sewer and 2,300 structures, including 7 lift stations. Each asset is routinely inspected, evaluated, and placed into a renewal and replacement program to ensure the City can provide reliable services in the future.
Sanitary Sewer Rate
The Engineering office conducted a Sanitary Sewer Rate Study to evaluate and recommend a rate structure modification and/or alternatives as needed to create a funding mechanism for necessary repairs to the City's sanitary sewer. The objective was to ensure that the rate structure is fair and equitable to City customers and meets the annual revenue requirements of the sewer system. A rate structure modification was needed to fund the backlog of capital replacement and repair needs identified by the Engineering staff studies and to address the ongoing capital costs to maintain the sewerage system in the future. More on the Sewer Rate
Storm Water ProgramWe manage and administer the City's Storm Water Permit, which is regulated by the Central Coast Regional Water Quality Control Board. In accordance with the permit, we implement and enforce the City's Storm Water Ordinance locally, and implement pollution prevention tasks and efforts citywide. These program elements include local, State, and Federal water quality regulations related to the Environmental Protection Agency (EPA), Clean Water Act (CWA), National Pollutant Discharge Elimination System (NPDES), and California Porter-Cologne Act. Working collaboratively, we're also a managing partner in the Monterey Regional Storm Water Management Program, a consortium of local governments who work together to implement pollution prevention and cost-sharing efforts regionally.

subset: commoncrawl


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If continuing education providers want to create change, they need to understand the intricacies of the system they and their learners work in.
If there was one message to walk away with after the Alliance for Continuing Medical Education's Annual Meeting in New Orleans in January, it was that continuing medical education can be a key driver in an organization's move toward performance improvement. But healthcare-related organizations are complex entities that can take a lot of time and effort to turn around. To make change happen that will improve outcomes, CME providers have to learn how to collaborate with departments including informatics and quality and performance improvement, as well as the individual docs and their healthcare teams.
While this is easier said than done, it can be done. So said David Price, MD, and George Mejicano, MD, at a session they presented at the Alliance annual meeting. Price is director of education, Colorado Permanente Medical Group; medical director, Permanente Federation Education Program, Oakland, Calif.; and professor, family medicine, University of Colorado at Denver Health Sciences Center. Mejicano is associate dean for continuing professional development; director, office of Continuing Professional Development; and professor, internal medicine, University of Wisconsin School of Medicine and Public Health. Here's what they had to say.
Understand the System
CME is nested in complex adaptive systems, said Mejicano. Even solo physicians work in systems, all of which consist of many interconnected parts. When the CME office acts as a part of a system, rather than as its own entity, it can identify new perspectives and barriers to change that can move the entire organization forward.
But first, CME providers need to understand the system they're in and its many moving parts. The people in the various parts of an organization get to make their own decisions about when, where, and how fast to adopt a change, said Price. Each piece of the system can view the proposed change differently, depending on the resources available to it, the barriers and incentives it faces, and its level of accountability to the results. Rarely do all parts of an organization agree on the need to change, nor on the schedule for its implementation, said Mejicano and Price.
You have to forget about fixing just one link in the chain — that analogy doesn't work for these systems, said Mejicano. That means that interventions that aim to change only a physician's behavior most likely won't lead to a sustained change in practice systemwide. However, small changes can ripple out as different pieces of an organization begin to experiment locally. That's why you have to identify the networks that connect various people and departments. "They may not be what you think they are," said Mejicano. You may think everyone is talking to everyone else in an orderly fashion, but when you look at actual interactions, some of the connections you would assume are there may not be, while others you wouldn't expect may be strongly in place. You have to find out where the connections actually are, he said.
Talk Their Talk
One problem CME providers run into is a language barrier: CME providers speak CME, PI practitioners speak PI, and docs speak "medicalese." To be effective change agents, CME providers "have to speak the language of their stakeholders," said Price. Take "learning objectives," for example. Why not call them something that would make more sense to your stakeholders, such as "performance expectations," since these are statements of what you expect your learners to be able to do when they walk out the door? Mejicano offered another example: "Don't call a handout a 'non-educational strategy.' Call it a handout."
It's important to talk their talk when it comes to departmental functions as well. While the CME and quality improvement processes have very different names for their various segments, the underlying concepts are pretty similar. For example, the QI cycle's "Plan, Do, Study, Act" lines up right alongside the CME model, with the needs assessment and objective setting being the "plan," implementation the "do," evaluation the "study," and follow-up the "act."
Once everyone understands the parallels, it's easier to talk about how your needs assessment can help plan the QI initiative. Can the gaps you uncover during your needs assessment process help to better plan the QI initiative? Which educational format would best accomplish the "Do" phase? "The more you can incorporate [CME factors into the QI cycle], the more likely your initiative will take off," said Price.
Find the Early Adopters
Most organizations focus their change efforts on those who appear to need it most: The people who score in the bottom 20 percent when it comes to making a change in behavior. If you want to be successful, forget about them: They have already demonstrated that they will be resistant to your efforts to make them change.
"Concentrate your efforts on those who are dissatisfied with the status quo and interested in doing new things, the early adopters, not the laggards," said Price. Mejicano added that who those early adopters are may vary from idea to idea. What CME intervention is best for that audience? Who should the faculty be? How can early adopters become facilitators in future CME?"
The tipping point comes when 10 percent to 20 percent begin to implement the change. That's when "it takes on a life of its own," said Mejicano.


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Editor's Note: The following is a news release issued by the Mercer County administration.
The Mercer County Library System is holding a special food drive during November and December to help replenish local food banks depleted in the aftermath of Hurricane Sandy.
To date the response has been so strong, with donations arriving from as far west as Ohio and as far south as Virginia, that the library has had to make weekly deliveries of donations to local service organizations, rather than simply deliver the donations at the end of the collection period.
On Nov. 15, a delivery van full of donations — food, clothing, toys, books and a $1,100 monetary donation — arrived from Ohio at the Ewing Branch. Unloading of the donations took staff more than 30 minutes to accomplish. The individuals from Ohio had come across the library as a collection point for Sandy victims on the Internet.
"To witness this type of community response has been extraordinary," said Mercer County Executive Brian M. Hughes. "We have seen a dramatic increase in donations since the storm, and to see donations come in from other parts of the country — it truly demonstrates the magnitude of people's generosity."
The collected nonperishable food items will be distributed to the Crisis Ministry, Mercer Street Friends Food Bank of Trenton, HomeFront of Lawrence, the Robbinsville Food Pantry, and "Rise – A Community Service Partnership" in Hightstown. Anyone wishing to donate nonperishable items may do so at any of the nine branches of the Mercer County Library System, located in the municipalities of East Windsor, Ewing, Hightstown, Hopewell, Lawrence, Robbinsville and West Windsor.
Some of the most needed items are canned fish and chicken, shelf-stable milk, peanut butter, canned vegetables and potatoes, cans of fruit, non-sugary hot or cold cereals, pasta, boxed macaroni and cheese, dried beans and rice.
Household goods and clothing are not being accepted. Additional information regarding collection and a list of items that are most needed may be found on the Library System's website, www.mcl.org.


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Persian language
Persian (فارسی) is an Iranian language within the Indo-Iranian branch of the Indo-European languages and the only South-Western Iranian language. It is primarily spoken in Iran (Persia), neighbouring Afghanistan (officially known as Dari since 1958 for political reasons6), Tajikistan (officially known as Tajiki since the Soviet era for politial reasons),7 and some other regions which historically came under Persian influence. The Persian language is classified as a continuation of Middle Persian, the official religious and literary language of Sassanid Persia, itself a continuation of Old Persian, the language of the Achaemenid Persian Empire.8910 Persian is a pluricentric language and its grammar is similar to that of many contemporary European languages.11 Persian is also so called due to its origin from the capital of the Achaemenid empire, Persis (Fars or Pars) hence the name Persian (Farsi or Parsi).
There are approximately 110 million Persian speakers worldwide, with the language holding official status in Iran, Afghanistan and Tajikistan. For centuries Persian has also been a prestigious cultural language in Central Asia, South Asia, and Western Asia.12 Persian is used as a liturgical language of Islam in not only Iran, Afghanistan, and Tajikistan, but also in Pakistan and North India.
Persian has had a considerable (mainly lexical) influence on neighboring languages, particularly the Turkic languages in Central Asia, Caucasus, and Anatolia, neighboring Iranian languages, as well as Armenian, and Indo-Aryan languages, especially Urdu. It also exerted some influence on Arabic, particularly Bahraini Arabic,13 while borrowing much vocabulary from it after the Muslim conquest of Persia.81114151617
With a long history of literature in the form of Middle Persian before Islam, Persian was the first language in Muslim civilization to break through Arabic's monopoly on writing, and the writing of poetry in Persian was established as a court tradition in many eastern courts.12 Some of the famous works of Persian literature are the Shahnameh of Ferdowsi, works of Rumi, Rubaiyat of Omar Khayyam, Divan of Hafiz and poems of Saadi.
- 1 Classification
- 2 Etymology
- 3 History
- 4 Varieties
- 5 Phonology
- 6 Grammar
- 7 Vocabulary
- 8 Orthography
- 9 Examples
- 10 See also
- 11 References
- 12 Further reading
- 13 External links
Persian belongs to the Western branch of the Iranian family of Indo-European languages, which also includes Kurdish, Mazandarani, Gilaki, Talyshi, and Baluchi. The language is in the Southwestern Iranian group, along with the Larestani, Kumzari and Luri languages.18
Persian language name in Persian
Persian is known by other names by native speakers:
- Farsi (فارسی fārsi),19 or Parsi (پارسی) has been the native name of Persian by all its speakers until 20th century. Since the latter decades of 20th century, for political reasons, in English and French, Farsi has become the name of the Persian language as it is spoken in Iran.
- Dari (دری darī)20 was a synonym for fārsi in Persian, but again for political reason, since the latter decades of 20th century, has become the name of Persian language as it is spoken in Afghanistan as one of its two official languages: it is sometimes called Afghan Persian in English;21
- Tajiki (тоҷикӣ / تاجیکی tojikī)22 is a dialect of Persian spoken in Tajikistan and Uzbekistan sometimes termed Tajiki Persian.23
English name
Persian, the more widely used name of the language in English historically, is an anglicized form derived from Latin *Persianus < Latin Persia < Greek Πέρσις Pérsis, a Hellenized form of Old Persian Parsa. According to the Oxford English Dictionary, the term Persian as a language name is first attested in English in the mid-16th century.24 Native Iranian Persian speakers call it Fārsi.25 Farsi is the Arabicized form of Pārsi, due to a lack of the 'p' phoneme in Standard Arabic (i.e., the 'p' was replaced with an 'f').2627 The origin of the name Farsi and the place of origin of the language which is Fars is, of course, the Arabicized form of Pârs. In English, this language has historically been known as "Persian", though "Farsi" has also gained some currency. According to the OED, the term Farsi was first used in English in 1926, while Parsi dates to 1790.25 "Farsi" is encountered in some linguistic literature as a name for the language, used both by Iranian and by foreign authors.28
The Academy of Persian Language and Literature has declared that the name "Persian" is more appropriate, as it has the longer tradition in the western languages and better expresses the role of the language as a mark of cultural and national continuity.29 Some Persian language scholars such as Ehsan Yarshater, editor of Encyclopædia Iranica, and University of Arizona professor Kamran Talattof, have also rejected the usage of "Farsi" in their articles.3031
The international language-encoding standard ISO 639-1 uses the code "fa", as its coding system is mostly based on the local names. The more detailed standard ISO 639-3 uses the name "Persian" (code "fas") for the dialect continuum spoken across Iran and Afghanistan. This consists of the individual languages Dari (Afghan Persian) and Iranian Persian.323334
Currently, VOA, BBC, DW, and RFE/RL use "Persian Service" for their broadcasts in the language. RFE/RL also includes a Tajik service, and an Afghan (Dari) service. This is also the case for the American Association of Teachers of Persian, The Centre for Promotion of Persian Language and Literature, and many of the leading scholars of Persian language.35
|History of the
Persian language
|Proto-Iranian (ca. 1500 BC)
Southwestern Iranian languages
|Old Persian (c. 525 BC - 300 BC)
|Middle Persian (c.300 BC-800 AD)
Pahlavi script • Manichaean script • Avestan script
|Modern Persian (from 800 AD)
Persian is an Iranian language belonging to the Indo-Iranian branch of the Indo-European family of languages. In general, Iranian languages are known from three periods, usually referred to as Old, Middle, and New (Modern) periods. These correspond to three eras in Iranian history; Old era being the period from sometime before Achaemenids, the Achaemenid era and sometime after Achaemenids (that is to 400–300 BC), Middle era being the next period most officially Sassanid era and sometime in post-Sassanid era, and the New era being the period afterwards down to present day.36
According to available documents, the Persian language is "the only Iranian language"837 for which close philological relationships between all of its three stages are established and so that Old, Middle, and New Persian represent838 one and the same language of Persian, that is New Persian is a direct descendent of Middle and Old Persian.38
The known history of the Persian language can be divided into the following three distinct periods:
Old Persian
Old Persian evolved from Proto-Iranian as it evolved in the Iranian plateau's southwest. The earliest dateable example of the language is the Behistun Inscription of the Achaemenid Darius I (r. 522 BC–ca. 486 BC). Although purportedly older texts also exist (such as the inscription on the tomb of Cyrus II at Pasargadae), these are actually younger examples of the language. Old Persian was written in Old Persian cuneiform, a script unique to that language and is generally assumed to be an invention of Darius I's reign.
After Aramaic, or rather the Achaemenid form of it known as Imperial Aramaic, Old Persian is the most commonly attested language of the Achaemenid age. While examples of Old Persian have been found wherever the Achaemenids held territories, the language is attested primarily in the inscriptions of Western Iran, in particular in Parsa "Persia" in the southwest, the homeland of the tribes that the Achaemenids (and later the Sassanids) came from.
In contrast to later Persian, written Old Persian had an extensively inflected grammar, with eight cases, each declension subject to both gender (masculine, feminine, neuter) and number (singular, dual, plural).
Middle Persian
The complex conjugation and declension of Old Persian yielded to the structure of Middle Persian in which the dual number disappeared, leaving only singular and plural, as did gender. Middle Persian developed the ezāfe construction, expressed through ī, to indicate some of the relations between words that have been lost with the simplification of the earlier grammatical system.
Although the "middle period" of the Iranian languages formally begins with the fall of the Achaemenid Empire, the transition from Old to Middle Persian had probably already begun before the 4th century. However, Middle Persian is not actually attested until 600 years later when it appears in Sassanid era (224–651) inscriptions, so any form of the language before this date cannot be described with any degree of certainty. Moreover, as a literary language, Middle Persian is not attested until much later, to the 6th or 7th century. And from the 8th century onwards, Middle Persian gradually began yielding to New Persian, with the middle-period form only continuing in the texts of Zoroastrian tradition.
The native name of Middle Persian was Parsig or Parsik, after the name of the ethnic group of the southwest, that is, "of Pars", Old Persian Parsa, New Persian Fars. This is the origin of the name Farsi as it is today used to signify New Persian. Following the collapse of the Sassanid state, Parsik came to be applied exclusively to (either Middle or New) Persian that was written in Arabic script. From about the 9th century onwards, as Middle Persian was on the threshold of becoming New Persian, the older form of the language came to be erroneously called Pahlavi, which was actually but one of the writing systems used to render both Middle Persian as well as various other Middle Iranian languages. That writing system had previously been adopted by the Sassanids (who were Persians, i.e. from the southwest) from the preceding Arsacids (who were Parthians, i.e. from the northeast). While Rouzbeh (Abdullah Ibn al-Muqaffa, 8th century) still distinguished between Pahlavi (i.e. Parthian) and Persian (in Arabic text: al-Farsiah) (i.e. Middle Persian), this distinction is not evident in Arab commentaries written after that date.
Gernot Windfuhr considers new Persian as an evolution of the Old Persian language and the Middle Persian language4 but also states that none of the known Middle Persian dialects is the direct predecessor of the [New] Persian 3940 Professor. Ludwig Paul states: "The language of the Shahnameh should be seen as one instance of continuous historical development from Middle to New Persian"41
New Persian
The history of New Persian itself spans more than 1,000–1,200 years. The development of the language in its last period is often divided into three stages dubbed early, classical, and contemporary. Native speakers of the language can in fact understand early texts in Persian with minimal adjustment, because the morphology and, to a lesser extent, the lexicon of the language have remained relatively stable for the most part of a millennium.42
Early New Persian
New Persian developed from the 8th century on as an independent literary language.43 Upon the decline of the Caliphate at Baghdad in the 9th century began the re-establishment of Persian national life and Persians laid the foundations for a renaissance in the realm of letters. New Persian was born in Bactria through the adaptation of the spoken form of Sassanian Middle Persian court language called Dari. The cradle of the Persian literary renaissance lay in the east of Greater Iran, in the Greater Khorasan and Transoxiana regions close to the river Amu Darya.44
The mastery of the newer speech having now been transformed from Middle- into New Persian was already complete during three princely dynasties of Iranian origin Tahirid (820–872), Saffarid (860–903) and Samanid (874–999), and could develop only in range and power of expression.44
Abbas of Merv is mentioned as being the earliest minstrel to chant verse in the newer Persian tongue and after him the poems of Hanzala Badghisi were among the most famous between the Persian-speakers of the time.45
The first poems of the Persian Language, a language historically called Dari, have emerged in Khorasan.46dubious The first significant Persian poet was Rudaki. He flourished in the 10th century, when the Sāmānids were at the height of their power. His reputation as a court poet and as an accomplished musician and singer has survived, although little of his poetry has been preserved. Among his lost works is versified fables collected in Kalilah va Dimnah.12
The language spread geographically from the 11th century on and was the medium through which among others, Central Asian Turks became familiar with Islam and urban culture. New Persian was widely used as a transregional lingua franca, a task for which it was particularly suitable due to its relatively simple morphological structure and this situation persisted until at least 19th century.43 In the late Middle Ages, new Islamic literary languages were created on the Persian model: Ottoman, Chaghatay and Urdu, which are regarded as "structural daughter languages" of Persian.43
Classic Persian
The Islamic conquest of Persia marks the beginning of the new history of Persian language and literature. This period produced world class Persian language poets and the language served, for a long span of time, as the lingua franca of the eastern parts of Islamic world and South Asia. It was also the official and cultural language of many Islamic dynasties, including Samanids, Buyids, Tahirids, Ziyarids, the Mughal Empire, Timurids, Ghaznavid, Seljuq, Khwarezmids, Safavid, Afsharids, Zand, Qajar, Ottomans and also many Mughal successor states such as the Nizams etc. For example, Persian was the only oriental language known and used by Marco Polo at the Court of Kublai Khan and in his journeys through China.47 The heavy influence of Persian on other languages can still be witnessed across the Islamic world, especially, and it is still appreciated as a literary and prestigious language among the educated elite, especially in fields of music (for example Qawwali) and art (Persian literature). After the Arab invasion of Persia, Persian began to adopt many words from Arabic and as time went by, a few words were even taken from Turko-Mongol languages under the Mongol Empire and Turco-Persian society.
Use in South Asia
Persian has a long and extensive history in South Asia and South Asian culture. For five centuries prior to the British colonization, Persian was widely used as a second language on the Indian subcontinent.citation neededdubious It took prominence as the language of culture and education in several Muslim courts on the subcontinent and became the sole "official language" under the Mughal emperors. Beginning in 1843, though, English gradually replaced Persian in importance on the subcontinent.48 Evidence of Persian's historical influence there can be seen in the extent of its influence on the languages of the Indian subcontinent, as well as the popularity that Persian literature still enjoys in that region. Words borrowed from Persian are still commonly used in Indo-Aryan languages, especially Urdu, also historically known as Hindustani.
Contemporary Persian
Since the nineteenth century, Russian, French and English and many other languages have contributed to the technical vocabulary of Persian. The Iranian National Academy of Persian Language and Literature is responsible for evaluating these new words in order to initiate and advise their Persian equivalents. The language itself has greatly developed during the centuries.
There are three modern varieties of standard Persian:
- Western Persian (Persian, Iranian Persian, or Farsi) is spoken in Iran, and by minorities in Iraq and the Persian Gulf states.
- Eastern Persian (Dari Persian, Afghan Persian, or Dari) is spoken in Afghanistan.
- Tajiki (Tajik Persian) is spoken in Tajikistan and Uzbekistan. It is written in the Cyrillic script.
All these three varieties are based on the classic Persian literature and its literary tradition. There are also several local dialects from Iran, Afghanistan and Tajikistan which slightly differ from the standard Persian. Hazaragi (in Central Afghanistan and Pakistan), Herati (in Western Afghanistan), Darwazi (in Afghanistan and Tajikistan), Tehrani (in Iran, the basis of standard Iranian Persian) and Dehwari (in Pakistan) are examples of these dialects. Persian-speaking peoples of Iran, Afghanistan, and Tajikistan can understand one another with a relatively high degree of mutual intelligibility,49 give or take minor differences in vocabulary, pronunciation, and grammar – much in the same relationship as shared between British and American English.
ISO 639-3 lists ten dialects of Persian, the three main literary dialects listed above and seven regional dialects: Hazaragi, Aimaq, Bukharic, Dzhidi, Dehwari, Darwazi, Pahlavani.50
The following are some languages closely related to Persian:
- Luri (or Lori), spoken mainly in the southwestern Iranian provinces of Lorestan, Kohgiluyeh and Boyer-Ahmad Province, some western parts of Fars Province and some parts of Khuzestan.
- Tat, spoken in parts of Azerbaijan, Russia, etc. It includes Judæo-Tat & Christian-Tat.
- Lari (in southern Iran)
Iranian Persian has six vowels and twenty-two consonants.
Historically, Persian has distinguished length: Early New Persian possessed a series of five long vowels (/iː/, /uː/, /ɒː/, /oː/ and /eː/) along with three short vowels /æ/, /i/ and /u/. At some point prior to the sixteenth century within the general area that is today encompassed by modern Iran, /eː/ and /iː/ merged into /iː/, and /oː/ and /uː/ merged into /uː/. Thus, the older contrasts such as shēr "lion" vs. shīr "milk", and rūd "river" vs rōd "bow-string" were lost. However, there are exceptions to this rule, and in some words "ē" and "ō" are preserved or merged into the diphthongs [eɪ] and [oʊ] (which are descendents of the diphthongs [æɪ] and [æʊ] in Early New Persian), instead of merging into /iː/ and /uː/. Examples of this exception can be found in words such as [roʊʃæn] (bright).
However, in the eastern varieties, the archaic distinction of /eː/ and /iː/ (respectively known as Yā-ye majhūl and Yā-ye ma'rūf) is still preserved, as well as the distinction of /oː/ and /uː/ (known as Wāw-e majhūl and Wāw-e ma'rūf). On the other hand, in standard Tajik, the length distinction has disappeared and /iː/ merged with /i/, and /uː/ with /u/.51 Therefore, contemporary Afghan Dari dialects are the closest one can get to the vowel inventory of Early New Persian.
According to most studies on the subject (e.g. Samareh 1977, Pisowicz 1985, Najafi 2001), the three vowels which are traditionally considered long (/i/, /u/, /ɒ/) are currently distinguished from their short counterparts (/e/, /o/, /æ/) by position of articulation, rather than by length. However, there are studies (e.g. Hayes 1979, Windfuhr 1979) which consider vowel length to be the active feature of this system, i.e. /ɒ/, /i/, and /u/ are phonologically long or bimoraic whereas /æ/, /e/, and /o/ are phonologically short or monomoraic.
There are also some studies which consider quality and quantity to be both active in the Iranian system (e.g. Toosarvandani 2004). This view offers a synthetic analysis which includes both quality and quantity, often suggesting that modern Persian vowels are in a transition state between the quantitative system of classical Persian and a hypothetical future Persian which will eliminate all traces of quantity, and retain quality as the only active feature.
The length distinction is nevertheless strictly observed by careful reciters of classic-style poetry, for all varieties (including the Tajik).
|p b
|t d
|k ɡ
|(q ɢ)
|tʃ dʒ
|f v
|s z
|ʃ ʒ
|x ɣ
(Where symbols appear in pairs, the one to the right represents a voiced consonant. Allophones are in parentheses.)
- Persian is an agglutinative5253545556 language.
- Suffixes predominate Persian morphology, though there is a small number of prefixes.57 Verbs can express tense and aspect, and they agree with the subject in person and number.58 There is no grammatical gender in Persian, nor are pronouns marked for natural gender.
Normal declarative sentences are structured as "(S) (PP) (O) V". This means sentences can comprise optional subjects, prepositional phrases, and objects, followed by a required verb. If the object is specific, then the object is followed by the word rā and precedes prepositional phrases: "(S) (O + rā) (PP) V".58
Native word formation
Persian makes extensive use of word building and combining affixes, stems, nouns and adjectives. Persian frequently uses derivational agglutination to form new words from nouns, adjectives, and verbal stems. New words are extensively formed by compounding – two existing words combining into a new one, as is common in German. Professor Mahmoud Hessaby demonstrated that Persian can derive 226 million words.59
While having a lesser influence on Arabic15 and other languages of Mesopotamia and its core vocabulary being of Middle Persian origin,11 New Persian contains a considerable amount of Arabic lexical items,81416 which were Persianized17 and often took a different meaning and usage than the Arabic original. Persian loanwords of Arabic origin especially include Islamic terms. The Arabic vocabulary in other Iranian, Turkic and Indic languages are generally understood to have been copied from New Persian.60
John R. Perry in his article "Lexical Areas and Semantic Fields of Arabic" estimates that about 40 percent of an everyday vocabulary of 20,000 words in current Persian, and more than 50 percent of the vocabulary of classical and modern Persian literature, are of Arabic origin. The text frequency of these loan words is generally lower and varies by style and topic area. It may approach 25 percent of a text in literature.61 Among the Arabic loan words, relatively few (14 percent) are from the semantic domain of material culture, while a larger number are from domains of intellectual and spiritual life.62 Most of the Arabic words used in Persian are either synonyms of native terms or could be glossed in Persian.63
The inclusion of Mongolian and Turkic elements in the Persian language should also be mentioned,64 not only because of the political role a succession of Turkic dynasties played in Iranian history, but also because of the immense prestige Persian language and literature enjoyed in the wider (non-Arab) Islamic world, which was often ruled by sultans and emirs with a Turkic background. The Turkish and Mongolian vocabulary in Persian is minor in comparison to that of Arabic and these words were mainly confined to military, pastoral terms and political sector (titles, administration, etc.).65 New military and political titles were coined based partially on Middle Persian (e.g. Artesh for army instead of Qoshun, Sarlashkar, DaryaBaan, etc.) in the 20th century. Persian has likewise influenced the vocabularies of other languages, especially other Indo-Iranian languages like Urdu and to a lesser extent Hindi, etc., as well as Turkic languages like Ottoman Turkish, Chagatai language, Tatar language, Turkish,66 Turkmen, Azeri67 and Uzbek, Afro-Asiatic languages like Assyrian and Arabic,68 and even Dravidian languages especially Telugu and Brahui, as well as Austronesian languages such as Indonesian and Malay. Persian has also had a significant lexical influence, via Turkish, on Serbian/Croatian/Bosnian/Serbo-Croatian, particularly as spoken in Bosnia and Herzegovina.
Use of occasional foreign synonyms instead of Persian words can be a common practice in everyday communications as an alternative expression. In some instances in addition to the Persian vocabulary, the equivalent synonyms from multiple foreign languages can be used. For example, in Iranian colloquial Persian (but not in Afghanistan or Tajikistan), the phrase "thank you" may be expressed using the French word merci (stressed however on the first syllable), the hybrid Persian-Arabic word motešakkeram (motešakker being merciful in Arabic and -am meaning I am in Persian), or by the pure Persian word sepāsgozāram.
The vast majority of modern Iranian Persian and Dari text is written with the Arabic script. Tajik, which is considered by some linguists to be a Persian dialect influenced by Russian and the Turkic languages of Central Asia,6970 is written with the Cyrillic script in Tajikistan (see Tajik alphabet).
Persian alphabet
Modern Iranian Persian and Afghan Persian are written using a modified variant of the Arabic alphabet (see Persian alphabet), which uses different pronunciation and additional letters not found in Arabic. Tajik Persian, as used in Tajikistan, is typically written in a modified version of the Cyrillic alphabet. There are also Persian Romanizations like Desphilic, Unipers and Fingilish/Pinglish for writing Persian using the Latin alphabet. After the conversion of Persia to Islam (see Islamic conquest of Iran), it took approximately 150 years before Persians adopted the Arabic script in place of the older alphabet. Previously, two different scripts were used, Pahlavi, used for Middle Persian, and the Avestan alphabet (in Persian, Dîndapirak or Din Dabire—literally: religion script), used for religious purposes, primarily for the Avestan language but sometimes for Middle Persian.
In modern Persian script, vowels that are referred to as short vowels (a, e, o) are usually not written; only the long vowels (â, i, u) are represented in the text, so words distinguished from each other only by short vowels are ambiguous in writing: kerm "worm", karam "generosity", kerem "cream", and krom "chrome" are all spelled "krm" in Persian. The reader must determine the word from context. The Arabic system of vocalization marks known as harakat is also used in Persian, although some of the symbols have different pronunciations. For example, an Arabic damma is pronounced [ʊ~u], while in Iranian Persian it is pronounced [o]. This system is not used in mainstream Persian literature; it is primarily used for teaching and in some (but not all) dictionaries.
There are several letters generally only used in Arabic loanwords. These letters are pronounced the same as similar Persian letters. For example, there are four functionally identical 'z' letters (ز ذ ض ظ), three 's' letters (س ص ث), two 't' letters (ط ت), etc.
The Persian alphabet adds four letters to the Arabic alphabet:
|Isolated form
(The že is pronounced with the same sound as the "s" in "measure" and "fusion", or the "z" in "azure".)
The Persian alphabet also modifies some letters from the Arabic alphabet. For example, alef with hamza below ( إ ) changes to alef ( ا ); words using various hamzas get spelled with yet another kind of hamza (so that مسؤول becomes مسئول) even though the latter is also correct in Arabic; and teh marbuta ( ة ) changes to heh ( ه ) or teh ( ت ).
The letters different in shape are:
|original Arabic letter
|modified Persian letter
Writing the letter in its original Arabic form is not typically considered to be incorrect,citation needed but is not normally done.
Latin alphabet
The International Organization for Standardization has published a standard for simplified transliteration of Persian into Latin, ISO 233-3, titled "Information and documentation – Transliteration of Arabic characters into Latin characters – Part 3: Persian language – Simplified transliteration"71 but the transliteration scheme is not in widespread use.
Another Latin alphabet, based on the Uniform Turkic alphabet, was used in Tajikistan in the 1920s and 1930s. The alphabet was phased out in favour of Cyrillic in the late 1930s.69
Fingilish is the name given to texts written in Persian using ISO basic Latin alphabet. It is most commonly used in chat, emails and SMS applications. The orthography is not standardized, and varies among writers and even media (for example, typing 'aa' for the [ɒ] phoneme is easier on computer keyboards than on cellphone keyboards, resulting in smaller usage of the combination on cellphones).
UniPers, short for the Universal Persian Alphabet (Fârsiye Jahâni) is a Latin-based alphabet popularized by Mohamed Keyvan, who used it in a number of Persian textbooks for foreigners and travellers.72 The current official Iranian romanization system is virtually identical to UniPers, the only notable differences being that UniPers â and c are Iranian ā and č, respectively.73
The International Persian Alphabet (Pársik) is another Latin-based alphabet developed in recent years mainly by A. Moslehi, a comparative linguist.74
Persá is yet another Latin-based alphabet that has been recentlywhen? developed using new characters to represent sounds unique to the Persian language.
Desphilic is also a romanization which uses ordinary Latin character set for romanization of Persian.
Tajik alphabet
The Cyrillic alphabet was introduced for writing the Tajik language under the Tajik Soviet Socialist Republic in the late 1930s, replacing the Latin alphabet that had been used since the Bolshevik revolution and the Persian script that had been used earlier. After 1939, materials published in Persian in the Persian script were banned from the country.6975
Article 1 of the Universal Declaration of Human Rights. Please note that the Tajik text is different from that of the Iranian Persian:
|Iranian Persian (Farsi)
|Tajik Persian (Tajiki)
|English Gloss
|همهٔ افراد بشر آزاد به دنیا میآیند و حیثیت و حقوقشان با هم برابر است، همهٔشان اندیشه و وجدان دارند و باید در برابر یکدیگر با روح برادری رفتار کنند.
|Hameye afrâde bašar âzâd be donyâ miâyando heysiyato hoquqešan bâ ham barâbar ast, hame andiševo vejdân dârando bâyad dar barâbare yekdigar bâ ruhe barâdari raftâr konand.
|hama-ye afrod-e bacar ozod be dunyo mi-oyand u haysiyat u huqwq-econ bo ham barobar ast, Hama-yecon andica u vejdon dorand u boyad dar barobar-e yakdigar bo rwh-e barodari raftor kunand
|[hæmeje æfrɒde bæʃær ɒzɒd be donjɒ miɒjænd o hejsijæt o hoɢuɢe ʃɒn bɒ hæm bærɒbær æst hæme ʃɒn ændiʃe o vedʒdɒn dɒrænd o bɒjæd dær bærɒbære jekdiɡær bɒ ruhe bærɒdæri ræftɒr konænd]
|Ҳамаи афроди башар озод ба дунё меоянд ва ҳайсияту ҳуқуқашон бо ҳам баробар аст, ҳамаашон андешаву виҷдон доранд ва бояд дар баробари якдигар бо рӯҳи бародарӣ рафтор кунанд.
|All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
See also
- The Existential BE and Copula in Persain
- Academy of Persian Language and Literature
- Dari
- List of English words of Persian origin
- List of French loanwords in Persian
- Persian alphabet
- Persian braille
- Persian grammar
- Persian name
- Persian phonology
- Persianate
- Persian Romanization schemes
- Southwestern Iranian dialects
- ^ a b c Samadi, Habibeh; Nick Perkins (2012). Martin Ball, David Crystal, Paul Fletcher, ed. Assessing Grammar: The Languages of Lars. Multilingual Matters. p. 169. ISBN 978-1-84769-637-3.
- ^ "HAZĀRA iv. Hazāragi dialect". Retrieved 15 February 2014.
- ^ "SociolinguistEssex XII - 2007". Essex University. 2007. p. 5.
- ^ a b c d e f g Windfuhr, Gernot. The Iranian Languages. Routledge. 2009. p. 418.
- ^ Nordhoff, Sebastian; Hammarström, Harald; Forkel, Robert; Haspelmath, Martin, eds. (2013). "Persian". Glottolog 2.2. Leipzig: Max Planck Institute for Evolutionary Anthropology.
- ^ Asta Olesen, "Islam and Politics in Afghanistan, Volume 3", Psychology Press, 1995. pg 205: "There began a general promotion of the Pashto language at the expense of Farsi – previously dominant at the educational and administrative level – and the term 'Dari' for the Afghan version of Farsi came into common use, being officially adopted in 1958"
- ^ Mona Baker, Kirsten Malmkjr , "Routledge Encyclopedia of Translation Studies", pg 518: "among them the realignment of Central Asian Persian, renamed Tajiki by the Soviet Union", [1]
- ^ a b c d e Lazard, Gilbert 1975, "The Rise of the New Persian Language" in Frye, R. N., The Cambridge History of Iran, Vol. 4, pp. 595–632, Cambridge: Cambridge University Press. "The language known as New Persian, which usually is called at this period (early Islamic times) by the name of Dari or Farsi-Dari, can be classified linguistically as a continuation of Middle Persian, the official religious and literary language of Sassanian Iran, itself a continuation of Old Persian, the language of the Achaemenids. Unlike the other languages and dialects, ancient and modern, of the Iranian group such as Avestan, Parthian, Soghdian, Kurdish, Balochi, Pashto, etc., Old Persian, Middle and New Persian represent one and the same language at three states of its history. It had its origin in Fars (the true Persian country from the historical point of view) and is differentiated by dialectical features, still easily recognizable from the dialect prevailing in north-western and eastern Iran."
- ^ Ulrich Ammon, Norbert Dittmar, Klaus J. Mattheier, Peter Trudgill, "Sociolinguistics Hsk 3/3 Series Volume 3 of Sociolinguistics: An International Handbook of the Science of Language and Society", Walter de Gruyter, 2006. 2nd edition. pg 1912. Excerpt: "Middle Persian, also called Pahlavi is a direct continuation of old Persian, and was used as the written official language of the country." "However, after the Moslem conquest and the collapse of the Sassanids, the Pahlavi language was gradually replaced by Dari, a variety of Middle Persian, with considerable loan elements from Arabic and Parthian."
- ^ Skjærvø, Prods Oktor (2006). Encyclopedia Iranica, "Iran, vi. Iranian languages and scripts, "new Persian, is "the descendant of Middle Persian" and has been "official language of Iranian states for centuries", whereas for other non-Persian Iranian languages "close genetic relationships are difficult to establish" between their different (Middle and Modern) stages. Modern Yaḡnōbi belongs to the same dialect group as Sogdian, but is not a direct descendant; Bactrian may be closely related to modern Yidḡa and Munji (Munjāni); and Wakhi (Wāḵi) belongs with Khotanese."
- ^ a b c Richard Davis, "Persian" in Josef W. Meri, Jere L. Bacharach, "Medieval Islamic Civilization", Taylor & Francis, 2006. pp. 602–603. "The grammar of New Persian is similar to many contemporary European languages."Similarly, the core vocabulary of Persian continued to be derived from Pahlavi.
- ^ a b c Encyclopædia Britannica: Persian literature, retrieved Sept. 2011.
- ^ Dialect, Culture, and Society in Eastern Arabia: Glossary. Clive Holes. 2001. Page XXX. ISBN 90-04-10763-0
- ^ a b Lazard, Gilbert, "Pahlavi, Pârsi, dari: Les langues d'Iran d'apès Ibn al-Muqaffa" in R.N. Frye, Iran and Islam. In Memory of the late Vladimir Minorsky, Edinburgh University Press, 1971.
- ^ a b Nushin Namazi (2008-11-24). "Persian Loan Words in Arabic". Retrieved 2009-06-01.
- ^ a b Classe, Olive (2000). Encyclopedia of literary translation into English. Taylor & Francis. p. 1057. ISBN 1-884964-36-2. "Since the Arab conquest of the country in 7th century AD, many loan words have entered the language (which from this time has been written with a slightly modified version of the Arabic script) and the literature has been heavily influenced by the conventions of Arabic literature."
- ^ a b Ann K. S. Lambton, Persian grammar, Cambridge University Press 1953. "The Arabic words incorporated into the Persian language have become Persianized".
- ^ Windfuhr, Gernot (1987). Berard Comrie, ed. The World's Major Languages. Oxford: Oxford University Press. pp. 523–546. ISBN 978-0-19-506511-4.
- ^ Or زبان فارسی zabān-e fārsi
- ^ Or فارسی دری \ فارسئ دری fārsi-ye dari
- ^ See Dari – Geographical distribution
- ^ Or забони тоҷикӣ / فارسی تاجیکی zabon-i tojiki
- ^ See Tajik language – Geographical distribution
- ^ Oxford English Dictionary online, s.v. "Persian", draft revision June 2007.
- ^ a b Oxford English Dictionary online, s.v. "Pārsi".
- ^ Cannon, Garland Hampton and Kaye, Alan S. (1994) The Arabic contributions to the English language: an historical dictionary Harrassowitz Verlag, Wiesbaden, Germany, page 106, ISBN 3-447-03491-2
- ^ Odisho, Edward Y. (2005) Techniques of teaching comparative pronunciation in Arabic and English Gorgias Press, Piscataway, New Jersey, page 23 ISBN 1-59333-272-6
- ^ For example: A. Gharib, M. Bahar, B. Fooroozanfar, J. Homaii, and R. Yasami. Farsi Grammar. Jahane Danesh, 2nd edition, 2001.
- ^ "Pronouncement of the Academy of Persian Language and Literature". Heritage.chn.ir. 2005-11-19. Retrieved 2010-07-13.
- ^ "Persian or Farsi?". Iranian.com. 1997-11-16. Retrieved 2010-09-23.
- ^ "Fársi: "recently appeared language!"". PersianDirect.com. 2005-02-15. Retrieved 2010-09-23.
- ^ "Documentation for ISO 639 identifier: fas". Sil.org. Retrieved 2010-07-13.
- ^ "Code PRS". Ethnologue. Retrieved 2010-07-13.
- ^ "Code PES". Ethnologue. Retrieved 2010-07-13.
- ^ "Kamran Talattof Persian or Farsi? The debate continues". Iranian.com. 1997-12-16. Retrieved 2010-07-13.
- ^ (Skjaervo 2006) vi(2). Documentation.
- ^ cf. (Skjaervo 2006) vi(2). Documentation. Excerpt: Modern Yaḡnōbi belongs to the same dialect group as Sogdian, but is not a direct descendant; Bac-trian may be closely related to modern Yidḡa and Munji (Munjāni); and Wakhi (Wāḵi) belongs with Khotanese.
- ^ a b cf. (Skjaervo 2006) vi(2). Documentation. Excerpt 1: Only the official languages Old, Middle, and New Persian represent three stages of one and the same language, whereas close genetic relationships are difficult to establish between other Middle and Modern Iranian languages. Modern Yaḡnōbi belongs to the same dialect group as Sogdian, but is not a direct descendant; Bac-trian may be closely related to modern Yidḡa and Munji (Munjāni); and Wakhi (Wāḵi) belongs with Khotanese. Excerpt 2: New Persian, the descendant of Middle Persian and official language of Iranian states for centuries..
- ^ Comrie, Bernard (1990) The major languages of South Asia, the Middle East and Africa, Taylor & Francis,p. 82
- ^ Barbara M. Horvath, Paul Vaughan, Community languages, 1991, 276 p.
- ^ L. Paul (2005), "The Language of the Shahnameh in historical and dialetical perspective" pg 150:"The language of the Shahnameh should be seen as one instance of continuous historical development from Middle to New Persian" in Dieter Weber, D. N. MacKenzie, Languages of Iran: past and present: Iranian studies in memoriam David Neil MacKenzie, Volume 8 of Iranica Series, Otto Harrassowitz Verlag. [2]
- ^ Jeremias, Eva M. (2004). "Iran, iii. (f). New Persian". Encyclopaedia of Islam 12 (New Edition, Supplement ed.). p. 432. ISBN 90-04-13974-5.
- ^ a b c Johanson, Lars, and Christiane Bulut. 2006. Turkic-Iranian contact areas: historical and linguistic aspects. Wiesbaden: Harrassowitz.
- ^ a b Jackson, A. V. Williams. 1920. Early Persian poetry, from the beginnings down to the time of Firdausi. New York: The Macmillan Company. pp.17–19. (in Public Domain)
- ^ Jackson, A. V. Williams.pp.17–19.
- ^ Adamec, Ludwig W. (2011). Historical Dictionary of Afghanistan (4th Revised ed.). Scarecrow. p. 105. ISBN 978-0-8108-7815-0.
- ^ John Andrew Boyle, Some thoughts on the sources for the Il-Khanid period of Persian history, in Iran: Journal of the British Institute of Persian Studies, British Institute of Persian Studies, vol. 12 (1974), p. 175.
- ^ Clawson, Patrick (2004). Eternal Iran. Palgrave Macmillan. p. 6. ISBN 1-4039-6276-6.
- ^ Beeman, William. "Persian, Dari and Tajik" (PDF). Brown University. Archived from the original on 2013-03-30. Retrieved 2013-03-30.
- ^ "Language Family Trees – Persian". Ethnologue. Retrieved 2010-07-13.
- ^ Perry, J. R. (2005) A Tajik Persian Reference Grammar (Boston : Brill) ISBN 90-04-14323-8
- ^ http://22.214.171.124/CSmsl/msl/Kshanovski.pdf
- ^ Janse, Mark (2009-01-01). "Watkins' Law and the Development of Agglutinative Inflections in Asia Minor Greek | Mark Janse". Academia.edu. Retrieved 2012-12-18.
- ^ Haspelmath, Martin; KШnig, Ekkehard; Oesterreicher, Wulf; Raible, Wolfgang ... – Martin Haspelmath – Google Livres. Books.google.fr. Retrieved 2012-12-18.
- ^ "Language Profile: Farsi « A.C.E. – Associates in Cultural Exchange Blog". Acebook.wordpress.com. 2009-06-16. Retrieved 2012-12-18.
- ^ "Transcription of the Persian Language in Electronic Format". Docstoc.com. 2009-04-22. Retrieved 2012-12-18.
- ^ Megerdoomian, Karine (2000). "Persian computational morphology: A unification-based approach". Memoranda in Computer and Cognitive Science: MCCS-00-320. p. 1.
- ^ a b Mahootian, Shahrzad (1997). Persian. London: Routledge. ISBN 0-415-02311-4.
- ^ Fareiran.com / فرايران at the Wayback Machine (archived October 11, 2007)
- ^ John R. Perry, "Lexical Areas and Semantic Fields of Arabic" in Éva Ágnes Csató, Eva Agnes Csato, Bo Isaksson, Carina Jahani, Linguistic convergence and areal diffusion: case studies from Iranian, Semitic and Turkic, Routledge, 2005. pg 97: "It is generally understood that the bulk of the Arabic vocabulary in the central, contiguous Iranian, Turkic and Indic languages was originally borrowed into literary Persian between the ninth and thirteenth centuries"
- ^ John R. Perry, "Lexical Areas and Semantic Fields of Arabic" in Éva Ágnes Csató, Eva Agnes Csato, Bo Isaksson, Carina Jahani, Linguistic convergence and areal diffusion: case studies from Iranian, Semitic and Turkic,Routledge, 2005. p.97
- ^ Perry 2005, p.99.
- ^ Perry 2005, p. 99.
- ^ e.g. The role of Azeri-Turkish in Iranian Persian, on which see John Perry, "The Historical Role of Turkish in Relation to Persian of Iran", Iran & the Caucasus, Vol. 5 (2001), pp. 193–200.
- ^ Xavier Planhol, "Land of Iran", Encyclopedia Iranica. "The Turks, on the other hand, posed a formidable threat: their penetration into Iranian lands was considerable, to such an extent that vast regions adapted their language. This process was all the more remarkable since, in spite of their almost uninterrupted political domination for nearly 1,000 years, the cultural influence of these rough nomads on Iran's refined civilization remained extremely tenuous. This is demonstrated by the mediocre linguistic contribution, for which exhaustive statistical studies have been made (Doerfer). The number of Turkish or Mongol words that entered Persian, though not negligible, remained limited to 2,135, i.e., 3 percent of the vocabulary at the most. These new words are confined on the one hand to the military and political sector (titles, administration, etc.) and, on the other hand, to technical pastoral terms. The contrast with Arab influence is striking. While cultural pressure of the Arabs on Iran had been intense, they in no way infringed upon the entire Iranian territory, whereas with the Turks, whose contributions to Iranian civilization were modest, vast regions of Iranian lands were assimilated, notwithstanding the fact that resistance by the latter was ultimately victorious. Several reasons may be offered."
- ^ Andreas Tietze, Persian loanwords in Anatolian Turkish, Oriens, 20 (1967) pp- 125–168. Archived September 11, 2007 at the Wayback Machine
- ^ L. Johanson, "Azerbaijan: Iranian Elements in Azeri Turkish" in Encyclopedia Iranica Iranica.com
- ^ Pasad. "Bashgah.net". Bashgah.net. Retrieved 2010-07-13.
- ^ a b c Perry, John R. (2005). A Tajik Persian Reference Grammar. Boston: Brill. ISBN 90-04-14323-8.
- ^ Lazard, Gilbert (1956). "Charactères distinctifs de la langue Tadjik". Bulletin de la Société Linguistique de Paris 52: 117–186.
- ^ "ISO 233-3:1999". Iso.org. 2010-05-14. Retrieved 2010-07-13.
- ^ "UniPers.com". UniPers.com. Retrieved 2010-07-13.
- ^ UN Romanization of Persian for Geographical Names (1967). Eki.ee. Retrieved on 2013-07-12.
- ^ Pársik tutor, persiandirect.com
- ^ Smallwars.quantico.usmc.mil
Further reading
- John Richardson (1810). Sir Charles Wilkins, David Hopkins, ed. A vocabulary, Persian, Arabic, and English: abridged from the quarto edition of Richardson's dictionary. Printed for F. and C. Rivingson. p. 643. Retrieved 2011-07-06.
- Muḥammad Ibrâhîm (1841). A grammar of the Persian language. Retrieved 2011-07-06.
- Edward Henry Palmer (1883). Guy Le Strange, ed. A concise dictionary, English-Persian; together with a simplified grammar of the Persian language. Completed and ed. by G. Le Strange. Retrieved 2011-07-06.
- Edward Henry Palmer (1883). Guy Le Strange, ed. A concise dictionary, English-Persian: together with a simplified grammar of the Persian language. Trübner. p. 42. Retrieved 2011-07-06.
- Arthur Naylor Wollaston (1882). An English-Persian dictionary. W.H. Allen. p. 462. Retrieved 2011-07-06.
- Arthur Naylor Wollaston (sir.) (1882). An English-Persian dictionary. W.H. Allen. Retrieved 2011-07-06.
- William Thornhill Tucker (1850). A pocket dictionary of English and Persian. J. Madden. p. 145. Retrieved 2011-07-06.
- William Thornhill Tucker (1801). A pocket dictionary of English and Persian. Retrieved 2011-07-06.
- William Thornhill Tucker (1850). A pocket dictionary of English and Persian. J. Madden. p. 145. Retrieved 2011-07-06.
- John Thompson Platts (1894). A grammar of the Persian language .... Williams and Norgate. Retrieved 2011-07-06.
- Friedrich Rosen, Nāṣir al-Dīn Shāh (Shah of Iran) (1898). Modern Persian colloquial grammar: containing a short grammar, dialogues and extracts from Nasir-Eddin shah's diaries, tales, etc., and a vocabulary. Luzac & C.̊. p. 400. Retrieved 2011-07-06.
- Edward Moises (1792). The Persian interpreter: in three parts: A grammar of the Persian language. Persian extracts, in prose and verse. A vocabulary: Persian and English. Printed by L. Hodgson. p. 143. Retrieved 2011-07-06.
- Arthur Henry Bleeck (1857). A concise grammar of the Persian language. Retrieved 2011-07-06.
- Arthur Henry Bleeck (1857). A concise grammar of the Persian language: containing dialogues, reading lessons, and a vocabulary: together with a new plan for facilitating the study of languages. B. Quaritch. p. 206. Retrieved 2011-07-06.
- Arthur Henry Bleeck (1857). A concise grammar of the Persian language (Oxford University ed.). Retrieved 2011-07-06.
- Duncan Forbes (1844). A grammar of the Persian language: To which is added, a selection of easy extracts for reading, together with a copious vocabulary (2 ed.). Printed for the author, sold by Allen & co. p. 158. Retrieved 2011-07-06.
- Duncan Forbes (1844). A grammar of the Persian language: To which is added, a selection of easy extracts for reading, together with a copious vocabulary (2 ed.). Printed for the author, sold by Allen & co. p. 114. Retrieved 2011-07-06.
- Duncan Forbes (1876). A grammar of the Persian language: to which is added, a selection of easy extracts for reading, together with a vocabulary, and translations. W.H. Allen. p. 238. Retrieved 2011-07-06.
- Duncan Forbes (1869). A grammar of the Persian language: to which is added, a selection of easy extracts for reading, together with a vocabulary, and translations (4 ed.). W.H. Allen & co. p. 238. Retrieved 2011-07-06.
- Matthew Lumsden (1810). A grammar of the Persian language; comprising a portion of the elements of Arabic inflexion etc. Watley. Retrieved 2011-07-06.
- Matthew Lumsden (1810). A grammar of the Persian language: comprising a portion of the elements of Arabic inflexion, Volume 1. Printed by T. Watley. Retrieved 2011-07-06.
- Sorabshaw Byramji Doctor (1880). The student's Persian and English dictionary, pronouncing, etymological, & explanatory. Irish Presbyterian Mission Press. p. 558. Retrieved 2011-07-06.
- Sorabshaw Byramji Doctor, Saʻdī (1880). Second book of Persian, to which are added the Pandnámah of Shaikh Saádi and the Gulistán, chapter 1, together with vocabulary and short notes (2 ed.). Irish Presbyterian Mission Press. p. 120. Retrieved 2011-07-06.
- Sorabshaw Byramji Doctor (1879). The Persian primer, being an elementary treatise on grammar, with exercises. Irish Presbyterian Mission Press. p. 94. Retrieved 2011-07-06.
- Sorabshaw Byramji Doctor (1879). The Persian primer, being an elementary treatise on grammar, with exercises. Irish Presbyterian Mission Press. p. 94. Retrieved 2011-07-06.
- Sorabshaw Byramji Doctor (1875). A new grammar of the Persian tongue for the use of schools and colleges. Irish Presbyterian Mission Press. p. 84. Retrieved 2011-07-06.
- George Speirs Alexander Ranking (1907). A primer of Persian: containing selections for reading and composition with the elements of syntax. The Claredon Press. p. 72. Retrieved 2011-07-06.
- George Speirs Alexander Ranking (1907). A primer of Persian: containing selections for reading and composition with the elements of syntax. The Claredon Press. p. 72. Retrieved 2011-07-06.
- Sir William Jones, Samuel Lee (1823). A grammar of the Persian language (8 ed.). Printed by W. Nicol, for Parbury, Allen, and co. p. 230. Retrieved 2011-07-06.
- Sir William Jones, Samuel Lee (1823). A grammar of the Persian language (8 ed.). Printed by W. Nicol, for Parbury, Allen, and co. p. 230. Retrieved 2011-07-06.
- Sir William Jones (1828). Samuel Lee, ed. A grammar of the Persian language (9 ed.). Printed by W. Nicol, for Parbury, Allen, and Co. p. 283. Retrieved 2011-07-06.
- Sir William Jones (1783). A grammar of the Persian language (3 ed.). Retrieved 2011-07-06.
- Sir William Jones (1801). A grammar of the Persian language (5 ed.). Murray and Highley, J. Sewell. p. 194. Retrieved 2011-07-06.
- Sir William Jones (1797). A grammar of the Persian language (4 ed.). Retrieved 2011-07-06.
- Ramdhun Sen (1841). Madhub Chunder Sen, ed. A dictionary in Persian and English, with pronunciation (ed. by M.C. Sen). (2 ed.). Retrieved 2011-07-06.
- Ramdhun Sen (1829). A dictionary in Persian and English. Printed for the author at the Baptist Mission Press. p. 226. Retrieved 2011-07-06.
- Ramdhun Sen (1833). A dictionary in English and Persian. Printed at the Baptist Mission Press. p. 276. Retrieved 2011-07-06.
- Ramdhun Sen (1833). A dictionary in English and Persian. Retrieved 2011-07-06.
- Thackston, W. M. (1993-05-01). An Introduction to Persian (3rd Rev ed.). Ibex Publishers. ISBN 0936347295.
- Mace, John (March 1993). Modern Persian (Teach Yourself). Teach Yourself. ISBN 0844238155.
- Mace, John (2002-10-18). Persian Grammar: For Reference and Revision (illustrated ed.). RoutledgeCurzon. ISBN 0700716955.
- Schmitt, Rüdiger (1989). Compendium linguarum Iranicarum. L. Reichert. ISBN 3882264136.
- Windfuhr, Gernot L. (2009-01-15). "Persian". In Bernard Comrie (ed.). The World's Major Languages (2 ed.). Routledge. ISBN 0415353394.
- Skjærvø, Prods Oktor (2006). "Iran, vi. Iranian languages and scripts". Encyclopaedia Iranica 13.
- Asatrian, Garnik (Expected November 2010). Etymological Dictionary of Persian. Leiden Indo-European Etymological Dictionary Series, 12. Brill Academic Publishers. ISBN 978-90-04-15496-4.
Other Languages
- Lazard, Gilbert (January 2006). Grammaire du persan contemporain. Institut Français de Recherche en Iran. ISBN 978-2909961378.
- Dahlén, Ashk (October 2010. 2nd edition April 2014). Modern persisk grammatik. Ferdosi International Publication. ISBN 9789197988674.
External links
|Find more about Persian at Wikipedia's sister projects
|Definitions and translations from Wiktionary
|Media from Commons
|Travel guide from Wikivoyage
|Persian edition of Wikipedia, the free encyclopedia
- Academy of Persian Language and Literature official website (Persian)
- Assembly for the Expansion of the Persian Language official website (Persian)
- Persian language Resources (Persian)
- Persian Language Resources, parstimes.com
- Haim, Soleiman. New Persian–English dictionary. Teheran: Librairie-imprimerie Beroukhim, 1934–1936. uchicago.edu
- Steingass, Francis Joseph. A Comprehensive Persian–English dictionary. London: Routledge & K. Paul, 1892. uchicago.edu
- UCLA Language Materials Project: Persian, ucla.edu
- How Persian Alphabet Transits into Graffiti, Persian Graffiti


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Thursday, April 24, 2014
By Matt DiFilippo email@example.com
Staff Writer
AUGUSTA -- Cony got the shots it wanted. The Rams got the right people in foul trouble. They had momentum, and they were playing in their backyard.
Still, Bangor had 6-foot-1 Mary Butler and 6-foot-2 Cordelia Stewart. And when Cony's shots didn't fall, the rebounds went where you'd expect them to go.
No. 2 Bangor out-rebounded ninth-seeded Cony by 25, and pretty much decided the game with a second-quarter run. Bangor won its first Eastern A girls basketball title since 1982, defeating Cony, 57-43, on Friday night at the Augusta Civic Center.
"Bangor's a very, very good team," Cony coach Karen Magnusson said. "They rebounded well. I'm not sure what the margin was, but I know there was a margin."
"For Cony, their tallest kid is 5-8," Bangor coach Katie Herbine said, "and I think that's definitely a tough task to try to rebound against 6-1 and 6-2."
The final totals were 54 rebounds for Bangor and 29 for Cony. Stewart had 13 rebounds, Butler grabbed 11, and in the real crusher, 5-5 point guard Denae Johnson hauled in 14 rebounds. Cony's top rebounder was 5-8 Josie Lee, with eight.
Bangor used that height advantage to lead 12-2 less than five minutes into the game. When Bangor missed a shot, Stewart or Butler was there for a putback — unless one or the other took the first shot and got a layup.
Cony got as close as 13-11 on a 3-pointer by Alyssah Dennett with 58 seconds to go in the first quarter. The underdogs got even more momentum when Butler picked up her second foul 20 seconds into the second quarter, and Emily Quirion drew Butler's third foul with 6:30 left in the half.
At that point, Bangor led 15-12. Herbine gambled by getting Stewart (who had two fouls herself) back off the bench shortly after. After Butler's third foul, Bangor outscored Cony, 16-4 the rest of the half to lead 31-16 at the break.
"That was something that we focused on," Magnusson said. "We knew we had to try to get them in foul trouble. We tried to attack them quite a bit. When that happened, we didn't get to go on our run that we wanted to go on at that point — which proves that they're more than just those two post players."
Cony had trailed Edward Little by 11 points in last year's regional final before rallying for a memorable victory. With a hyperactive full-court press, Cony scratched back within 11 on three separate occasions in the third quarter, but got no closer.
"We know we needed to cause turnovers to get some points going our way," Magnusson said. "We started getting it, but it wasn't enough. We'd make a run, and they'd make a run back. That's what good teams do."
Cony finished the game shooting 16 of 68, or 24 percent. Lee had 15 points and had a lot of shots get bad rolls off the rim. Stewart had 18 points for Bangor.
While last winter's Cony team went undefeated in the regular season and was the favorite in the Eastern A tournament. This year, Cony had to win a preliminary round game on the road just to get to the Civic Center, then knocked off the No. 1 and No. 4 seeds.
"We have to be proud," Magnusson said. "They weren't out there just running around. They worked really, really hard. Anyone that watched them would have appreciated the type of games that they played here at the Civic Center."
Matt DiFilippo — 861-9243
Bangor's Denae Johnson, left, battles for the ball with Cony's Alyssah Dennett, center, during the Eastern Class A championship game Friday at the Augusta Civic Center. Bangor derailed Cony's bid for a second straight regional title, winning 57-43.
Staff photo by Michael G. Seamans


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- Critic & User
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- Release Date 3/4/2013
- Publisher Namco
- Platform 3DS
- Genre Action Adventure
- Number of Players 1
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Featuring a quirky presentation, oddball animations, and designed to be easy to pick up and play, Naruto Powerful Shippuden lets ninja fans of all ages get in on the battle. Complete missions as Naruto or Rock Lee in a Story Mode that comes straight out of the animation. Dial up the action in the non-stop Endless Battle Mode. Unleash special attacks with Touch-Screen controls, power up your characters with experience points, and bring in sidekicks for some extra muscle during tough battles.
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Member since Nov 2012
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I've played about every Naruto game for the DS. The best ones being Ninja Council 3, Path of the Ninja 1 and 2, Ninja Destiny 1 and 2, and Naruto Shinobi Rumble. I would say that Naruto Poweful Shippuden is the best Naruto game for the DS to date. You can choose from either Naruto or Rock Lee. The g...more
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"Bonham had technique, but he couldn't swing a sack of shit," says great drummer and sack of shit Ginger Baker to interviewer Jay Bulger. This... More >>
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text:
UIS Spring Showcase 2009 Takes a Trip Down Spoon River
by TODD CRANSON
What do Percy Grainger, UIS, and Edgar Lee Masters have in common?
… a connection to Illinois' Spoon River. UIS Music's Spring Showcase Concert featured, among much more, a performance by the UIS Band of Percy Aldridge Grainger's Spoon River: An American Folk Dance.
The program note from the composer states: A Captain Charles H. Robinson heard a tune called "Spoon River" played by a rustic fiddler at a country dance at Bradford, IL, in 1857.
When Edgar Lee Masters' "Spoon River Anthology" appeared in 1914, Captain Robinson (then nearly 90 years old) was struck by the likeness of the two titles and sent the "Spoon River" tune to Masters, who passed it on to me. The tune is very archaic in character; typically American, yet akin to certain Scottish and English dance-tune types.
My setting (begun March 10, 1919; ended February 1, 1929) aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. It bears the following dedication: "For Edgar Lee Masters, poet of pioneers."
Over the course of the semester, the UIS Band gained familiarity with Masters and his Spoon River Anthology as well as numerous other connections between Grainger's music and our local community.
Masters' home town of Petersburg, IL, is only 25 miles northwest of Springfield, and UIS's Emiquon Field Station is located near Lewistown, IL, and the point where the Spoon River flows into the Illinois River. Only 50 or so miles fromUIS, this area inspired the fictional setting of Masters' anthology.
The local connection, historical and literary significance, and great music provided the UIS Band a satisfying and challenging interdisciplinary experience this past Spring.
Anyone interested in performing and learning with the UIS band this fall is encouraged to attend one of our first rehearsals on Monday, August 31 or September 14. For more information, contact Todd Cranson at firstname.lastname@example.com.


text:
Protesters rally in support of the National Association of Probation Officers (Napo) against proposed changes to legal services close to the Houses of Parliament in central London on April 1, 2014. Solicitors and probation officers in England and Wales went on strike against government changes to legal services. Napo members downed tools over plans to outsource the majority of the service to private companies and criminal defence solicitors walked out in protest against cuts in legal aid fees. AFP PHOTO / ADRIAN DENNISADRIAN DENNIS/AFP/Getty Images
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David Starfire
|Add to My Favorite Artists
|David Starfire is a producer, composer, multi-instrumentalist and DJ based in Los Angeles and San Francisco. His production style is eclectic fusing world music with dance, breakbeats, hip hop and everything in between. He's developed quite a following and his unique sound is catching the ears of music fans across the globe. David is signed with the internationally known label Six Degrees Records, home to artists such as The Orb, Bebel Gilberto, Banco De Gaia, Cheb i Sabbah, Karsh Kale, Midival Punditz, Michael Franti, DJ Spooky and many others. The songs merge world instruments with... more


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Comments on this photo » 1
- December 18, 2012
- 11:23 a.m.
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sgt1058 writes:
Funny how quickly he is to get political gains from this tragedy when he is the one responsible for 4 Americans being killed in Libya. Is there any lower of a humane?
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